It was called ‘Tantu,’ a “unique concept premiering a programme of Gurus
Sharon Lowen, Madhavi Mudgal and the performer of the evening Madhur
Gupta, framed by classics by the major architect of Odissi, Guru
Kelucharan Mohapatra.”
Hype has become the tenor of this generation and young Madhur Gupta, true to this age, seems a man in a hurry. No matter what type of stringing together of items one designs, the ultimate test lies in the dancer’s competence and here the dancer performing at the IIC auditorium, Delhi, left something to be desired. Right as he made an entry, his profiled body with head, neck, and back were not held in an erect line, the first requirement in a dancer. Apart from not holding the body straight, the shoulders and chest would not open out giving movement a spread. Whether it was the square geometrical motif of the chowk, or a diagonal walk with one leg weaving a circle in the air and being placed at the back of the other in a crossed foot swastika, Madhur’s movements, all executed close to the body gave his Odissi a very constricted feel taking away from the nature of the form, which along with the extreme grace of the tribhanga also has the strong posture of the chowk. Madhur has a flexible torso which is a plus point and he seems to revel in the tribhanga position. But he must first bring to his movements the full range with the contrasts of grace and tandav which are so central to this dance form – learn to walk correctly before trying to run so to speak. In fact one did wonder at a person starting training under Madhavi Mudgal for a short time, as claimed (which Madhavi when contacted denied) having such inadequate anga shuddha.
Read more in the site
Hype has become the tenor of this generation and young Madhur Gupta, true to this age, seems a man in a hurry. No matter what type of stringing together of items one designs, the ultimate test lies in the dancer’s competence and here the dancer performing at the IIC auditorium, Delhi, left something to be desired. Right as he made an entry, his profiled body with head, neck, and back were not held in an erect line, the first requirement in a dancer. Apart from not holding the body straight, the shoulders and chest would not open out giving movement a spread. Whether it was the square geometrical motif of the chowk, or a diagonal walk with one leg weaving a circle in the air and being placed at the back of the other in a crossed foot swastika, Madhur’s movements, all executed close to the body gave his Odissi a very constricted feel taking away from the nature of the form, which along with the extreme grace of the tribhanga also has the strong posture of the chowk. Madhur has a flexible torso which is a plus point and he seems to revel in the tribhanga position. But he must first bring to his movements the full range with the contrasts of grace and tandav which are so central to this dance form – learn to walk correctly before trying to run so to speak. In fact one did wonder at a person starting training under Madhavi Mudgal for a short time, as claimed (which Madhavi when contacted denied) having such inadequate anga shuddha.
Read more in the site
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